Written in 1958, one-act play “Krapp’s last tape” is considered to be Beckett’s most autobiographical piece. The play revolves around the old Krapp who is sitting by his tape-recorder and whose routine is to review his life as he listens to a recorded voice of his younger self. It’s his 69 birthday and on this occasion Krapp chooses to listen to the tape when he turned 39. Box… three, spool… five. “Perhaps my best years are gone. When there was a chance of happiness. But I wouldn’t want them back. Not with the fire in me now. No, I wouldn’t want them back.” Krapp motionless staring before him. The tape runs on in silence. Several years had passed until director Mehdi Farajpour found a proper way to expose his vision of Krapp. Beckett, as he notes, does not let you go on stage and do what you like. Sooner or later you end up caught in the atmosphere directed by Beckett. Mehdi Farajpour decides to challenge this subject. The path he started with was the text, the very foundation of Beckett’s thought, and the concept was to pass through words into movement, dance.